Topic   : Write a brief introductory note on ‘Natya’and ‘Rasa’theory

Name             : -      Gond   Asmita   k

Roll no           : -     1^st

Paper            : -     7^th (Literary theory and criticism

                      : -     The 20^th Western and Indian poetics)

Class            : -       M.A.-1,        SEM--2

E-mail Id     : -          asmita.gond414@gmail.com 

Year           : -          2015-16

v       : Write a brief introductory note on ‘Natya’and ‘Rasa’theory

                    Introduction: --

                        Natya and rasa theory are not in separate form but it was interwoven with each other, we can’t imagine Rasa without Natya and Natya without Rasa.

                           Indian ancient criticism was a milestone in itself. Ancient criticism was rich and beyond comparison. The Vedic texts announced that the poets were ‘gods, and they projected the term ‘kavi’for the god, means for the poets. While invoking the foremost of the Gods ------- Ganpati – they addressed him as the poet’s poet. ‘A human being could become poet only in so far as he attained to the nature and status of a god. The poet was the seer of truth having a subtle, profound and penetrating consciousness. He was a creator or maker, the builder , fashioner and  lastly he embodied theb principle of delight. Poet saw earth to the level of Heaven and established principle of joy everywhere.

                                          Thus, the Vedic conception of a poet took into account all aspects of poetry; it’s creation, manifestation and it’s impact upon the reader.

                                       The Vedic Kavi was also Yogi and Jagrat (the waking state), the Upnishadas spoke of subtler states such as the (swapna) the ‘dream’state means deep sleep and the transcendental state not mention infraconscious level. They also see objectively what he had created and evaluate it. If we see Valmiki’s Ramayana spontaneously sprang out of filled fountain of the heart, it means thet genuine greart poetry is constructed out of one’s cleverness but is a emanatation from a heart filled with Rasa.

                                          Of particular concern to Indian drama and literature are the term ‘bhava’or the state of mind and rasa referring generally to the emotional flavours, essence crafted into the work by the writer and relished by a ‘sensitive spectator’ with positive taste and mind. Rasa are created by bhavas. They are described by Bharat Muni in the Natyasastra, an ancient work of dramatic theory.

                         Thus, we can say thet Indian ancient criticism is mixture of ‘Natya’and ‘Rasa’theory so let’s take the more explanation over it.

v     A brief note on Natya and Rasa theory

        As we all know that ‘Natya’and ‘Rasa’theory is interwoven with each other and so it is important to know the internal things which were gives us pleasure and taste of relief.

                            Tradition considers the ‘Natyasastra’as an additional Veda, so important has it been in the history of Indian literary thought. A version of the ‘Nstyasastra’had been in existence before the third century; but by the third century, it had taken a definitive shape, as the references of later critics indicate. The authorship of Natyasastra is ascribed to Bharatmuni.

                        The Natyashastra was used through the fifteenth hundred years of Sanskrit literary thought as the bedrock of literary theory.  To many revivalistic Indian critics during the last two hundred years. Bharat has been the maker of the Rasa theory. There are many rendering of the Natyasastra or parts of it in modern Indian languages, translation of concepts of and terminology being easier in these languages.

v     Explanation of Natya and Rasa:

       The Natya is depiction and communication pertaining to the emotions of the entire triple world: Occasionally piety, occasionally sport, occasionally wealth, occasionally peace of mind, occasionally laughter, occasionally fighting, sexual passion, and occasionally slaughter; Bharat Muni enunciated the eight Rasa in the Natyasastra, an ancient work of dramatic theory. Each Rasa, according to Natyasasytra, has a presiding deity and a specific colour. There are four pairs of Rasas. For Instance, Hasya arises out of Sringara. The Aura of frightened person is black and the aura of an angry person is red. ‘Natya’ means ‘drama’ and ‘’sastra’ means ‘science’and Natyasastra is the source of producing Rasa theory. Gods declared that drama is the ‘fifth Veda’ because it is suitable for the degenerate age as the best form of religious instruction.

                                  ‘Natyashastra’ is based on the actions of men high, middling and low, this natya will produce wholesome instructions, create courage, pastime, entertainment and pleasure. This natya will be instrumental in producing restfulness, at the proper time, for such as are afflicted with misery, fatigue and sorrow and for poor tapasvin.

                                    In brief Natya, in is will be the instrument of instruction for the world.

                                              In fact the nature and behavior (swabhava) of the world intimately connected with happiness and misery, as rendered by physical and other forms of acting, is to be called natya.

Rasa theory finds its root in late Vedic period in Atharvaveda (200 BC-100 BC)

Bharatmuni (First century AD approx.) gave major statement in his Book Natyashastra

Natyashatra is Indian treatise on the performing arts, encompassing theatre, dance and music.

                               The eight rhetorical sentiments (rasa) recognized in drama and dramatic representations are named as follows:

 

     

                        The high- souled Druhina (Brahma) proclaimed these eight rhetorical sentiments.

                       The Sthayiebhava is related with the psycho-physical conditions (Sattvika) of mind. And this mental condition was mentioned as follows: Love, laughter, sorrow, anger, energy, fear, disgust and astonishment.

In Natya and Rasa theory four kinds of Abhinaya or histrionic representation are recognized they are;

  1) Physical gesture

  2) Expression and movements

 3) Dramatic speech

4) Costume and make-up

                                 If  a actor wanted to attract their audience towards them so he has to give appropriate bodu gesture so that it makes the performance real and effective. if we take the example from the bollywood the director selets only those actors for their films who has good acting and good physical gestures. During the performace if  you are performing good but you forget to give any expression so it would be weak performance because movements and expressions tells everything to the audience. A  speech or a script is most important part for any actor or actress because the speech is the part of the communication with others so the s[eech should be appropriate  and most important fo any actor. make-up is very important part for any performer because if you are not good looking no  one  wanted to see you on the Natya so the make-up is makes a an actor a appropriate actor. So in Natya to evoke the rasa the four abhinayas are very important part.

            

                                     Natyasastra is incomplete without music  because threw music we can feel Natya perfectly  and it’s inner mood also, and they are of four kinds: Stringed (tata), Covered( avanaddha), Solid(Ghana) , Holes( Susira) and these four musical instruments were connected with different musical instruments like…..

v  Tata   is connected with the    lyre,

v  Avanaddha is connected with the Drum

v  Ghana is connected with the cymbal

v  Susira is connected with the flute

The songs pertaining to the Dhruvas Sung in Course of dramatic representation are of five kinds:

o   Entering    ----------------------Pravesa

o   Interpose------------------------ Aksep

o   Leaving-------------------------- Niskarma

o   Pleasing-------------------------- Prasadika

o   Filling the gap-----------------Anantra

        And the theaters is defined as the ‘square shapes’ oblong and triangular.

                 Thus, we can say that ‘Rasa’theory has it’s origin in the Natyasastra of Bharat. Rasa claims that the object or meaning should be conveyed in litersry composition and it’s nature should have an emotional effect. It has diverse human experience on man’s heart and mind.

                     Now in our mind it comes first that what is Rasa? So we can say that Rasa arise from a proper combination of the stimulants (Vibhava), the physical consequent (anubhava), and the transient emotional states (Vyabhichari bhavas). In illustrative case we can say that just as the proper combination of different spicy food stuff (Vyanjana), Leaf vegitables (ausadhi) and other articales of food (Dravya), and flavor and taste Rasa produced. In a same way when different emotional state comes together aesthetic flavor and relish are produced.

                          “Just as again on account of such articles of food as molasses, and spicy and vegetables  stuff, the six flavor and taste are produced in the sameway when various emotional states reach the abiding mental condition, the later attaine the quality becomes aesthetically relishable.”

§  The literary theories are classified into----------

1.      Language namely Álamkara’and ‘Vakroti’

2.      Style and composition value namely guna—dosa, riti, and aucitya.

3.      Discourse analysis namely  mahavakya

4.      Verbal symbolism, namely ‘Dhavani”

5.      Narrative namely  ‘Mahavakya’

6.      Comprihensive analysis and

7.      Aesthetic experience namely ‘rasa’

Bharat demonstrates to enumerate the whole range of emotions, or states of being born of experience, and to analyse the structure emotions as cause, physical correlate and their effect on man’s being. Thus, ‘Rasa’can be said to be a theory of literary experience. Bharata gave the analysis of it’s sourses, nature and its categories. Abhinava Gupta enriched this theory by elucidating  it’s philosophic foundations and by  analyzing it in depth the aesthetic s in terms of nature, cognition and effect of literary experience.

                           Thus, ‘Rasa’theory has been accepted as the main literary theory by all major poeticians both before and after. Some other critics like Pt. Jaganath, Abhinavegupta and Viswanatha also has contributed to Rasa theory.

        ‘Rasa’theory is said to arise when the Sthayibhava in the individual is awakened by his perception of the:

1.      Vibhavas

2.      Anubhavas

3.      Vyabhicharibhavas and

4.      Sattvicbhavas

v  The Natyasastra lists eight bhavas with eight corresponding Rasas:

1.      Riti                 (love)

2.      Hasya             (mirth)      

3.      Soka              (sorrow)

4.      Krodha          (anger)

5.      Utsaha            (energy)

6.      Bhaya          ( Terror)

7.      Jagupsa        (Disgust)

8.      Vismaya        ( Astonishment)

Vibhava is the stimuli like the story, the stage and the actors responsible for the awakening of the Sthayi.  The Vibhavas are of two kinds:

                                                                        I.            Alambana Vibhava:                     It is the basic stimulus that is capable of       arousing the sentiment where as.

                                                                      II.            Uddipana Vibhava     :      It is the enchanting stimuli, the environment in which the basic stimulus is located.

For example In case arousing the sentiment of piety  or  ‘Karuna Rasa’ the perception of an old weak  woman on the stage is called  alambana Vibhava and the hut in which the old women  lying  and the atmosphere around  is  of  neglected and  poverty can be rightly called Úddipana Vibhava’.

Yet it is important to note that Vibhava is not the ‘çause’of producing any emotion but only themedium by which passes to spectator by means of sympathetic induction. This way, in aesthetic condition of induction everything is a medium and not a cause and it so happens because what is transferred is not always a generalized feelimg which can be called result nor it can be called knowledge.

           Different mental emotional states manifest themselves and become visible through universal physiological reactions called Anubhavas. It means it is the deliberate manifestations of feeling on the part of the actor. They include various gesture and glances of the actor which are intended to develop the basic stimulus or the Vibhava.

                For example Navarasas like ‘Srangara rasa’means love and beauty. This is the emotion used to represent that which appeals to the human mind, that one which find beautiful that which evokeslove. And so it is known as the king of all rasas. It evokes in the presence of a beautiful women on stage is Vibhava and her ‘movements’and; glances’are the ánubhavas.’

                Navarasa Whatis it? So we can say that human life is a rich fabric that is given colour and texture by many happenings thatshap it. And it makes life interesting. So we can say that Navarasas gives emotions or Rasa are what give life different hues, shades and colours.

Navarasas

                  In Bharatnatyam Bharat Muni has introduced nine Rasa in Natyasastra.

• 
  
• v  Srungaram --- Love attractiveness deity- Vishnu
  v  Hasyas---     Laughter, mirth, comedy –White colour
  v  Rudram---- Fury—colour red
  v  Karunayam---Compassion,mercy,colour—grey
  v  Bibhatsam--- Disgust aversion, colour—blue
  v  Veeram--- Horror, terror,colour—black
  v  Adbhutam---Wonder, amazement, colour—Yellow
  v  Bhayanakam--- Heroic, mood colour—Yellowish.
  v  Shana-----         white colour ----- Shws calmness.

                            Vyabhicharibhavas are the ‘Transient’emotions arising in the course of maintaining and developing the basic mood; they are the ancillary emotions which are determined by the basic emotion and Vyabhicharibhavas is turn reinforces the basic mood. And it also depends on speech, body and concentrated mind, these lead or carry the spectators in actual dramatic performance, to the poetic sentiments; and so it called Vyabhicharibhavas.

                If the basic mood is love, joy in union and anguish in separation will be the accompanying ancillary emotions.

                    In the context of our dission Sattva is something that originates in the mind. It is so called on account of the equipoised state of mind. When the mind attains perfect concentration Sttva is produced. If we refer Ayurveda it is describe that Satvik persons were good and they have the ability to overcome from all the circumstances and Sattvik perso were always found in religious way.

           “A Yakshagna artist expressing emotions on stage. Vaachikabhinaya is an important part of Yakshagana.” So we can say that when all above things were comes together the sthaibhava would arouse which is called ‘rasa’.

v      Rasa and bhava

                          As we akow that any type of drama is impossible without Bhava and Rasa. Any actor or actress can play their role with variety of Bhavas. But the dominance of rati, shoka, utsaha and vismaya makes the play more receptive, hence at successive acts, well informed audience experiences heightened emotions and rasa that has combination of love and karuna. Simultaneously, veera and adbhut rasas play their subservient role.

                                

o  Bharatmuni says

“Rasa is realization of one’s own consciousness as colored by emotions”

“Rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”

Accepted as the core literary theory by all major dramatists as well as theoreticians including Abhinavgupta, Viswanatha, Pt. Jagananatha and Kapil Kapoor who have contributed towards a more subtle understanding of this theory.

              According to Abhinavagupta he talks about the process of ‘Rasa’ theory.He interpreas ‘rasa’ theory as “stream of consciousness”.  Abinavagupta believes that grasping the full significance of the words and their meanings, there is the mental invitation as a result of which the actual temporaL and spatial character of the situation is withdrawn from the mental field and the emotion suggested there in toses its individual character which becomes disassociated from such conditions as might have led us to any motivation. Pathological results are always due to a sense of self- struggle, self motivation, and loss and so on. In the subconscious and unconscious regions there are alwys complexities. When through artistic creation a purely universal  emotional fear, armour etc are projected  in the mind they become affliciat recognition of identity immediately changes the artistic   joy there is a  kindship and identoty of all art- enjoyers to enjoy the performance.

            

v   How the Rasa and Bhava evokes: (Rasa and Bhava)

                                    Bhava and Rasa are the emotional states turned out from the rhetorical sentiments or it may be opposite. It is a matterr of actual perception that the rhetorical sentiments are turned out of the emotional states and not that emotional states ate turned out of the sentiments.

                                           If we minutely read or watch any movie we can recognise the rasa and bhava. Abhigyan shakuntalam was the story of Shakuntala and Dushyanta and on that play we can see all the rasa and bhavas. Just like that let’s we will interpreat the ‘Ramayana’ and examing the play with different rasa and bhava in Natya Ramayana.

             

                                   As we all know everything about tha Ramayana it is the play of Rama who is known as the maryada purshottam.

                        As we all know that Sita is the beautiful queen to whom Rama marriede.  She is also known as the sati because she has all the devine power her childhood was spent into the palce and she wears precious ornaments and clothes because she was a queen which shows her beauty. So threw this what comes in our mind is shringar.

   Dominant bhava;--Rati

Dominant Rasa   : --- Shringar

                

                            Then we can see that during Sita’s swaynwar (marriage) Rama has to do compitition wirth other kings and finally Rama has broken the Bow because he was a powerful king of Ayodhya and in this way he married to Sita.

       Dominant Bhava      : ------ Utsaha, rati

       Dominant Rasa        : -----          Veer, Shringar

                          After sita’s marriage because of some circumstances Rama and Sita has to leave the palace and stay into the forest.

            Dominant Bhave: -- Shoka

            Dominant Rasa:  --- Rudra karuna

               

              As living into the forest Ravana kidnaps to Sita and brought her into the Lanka by doing cheet with Rama and Sita. And to release Sita from Ravana Rama has to struggle allott and finally he recieves back to sita.

      Dominant Bhava: Krodha, Riti, Shoka, Veer

     Dominant rasa      :   Karuna, Rudra, veera

                      Then we know that after getting back to Sita Rama has not accepted her because he told that Sita was not a pios woman. Then Sita went into the forest and she started to living into the ashrama and gives birth to two children named Lav and Kush. But Rama has not accepted her back. But both the children were become powerful and knowledgeable children's.

          Dominant bhava: Soka, utsaha

         Dominant rasa    :  Karuna, Utsaha

                                Then sita has to prove herself pious she has to sacrifice herself  by giving agnipariksha and by killing herself she was proved that she was pious it shows that a women has to always sacrifice herself.

             Dominat bhava:    Rudra

             Dominant rasa:  Karuna

            Thus, at last the Ramayana Katha moves ahead and slowly and steadily all the problems were get solved. And so we can say that Ramayana katha involves all the bhava and Rasa. Bhavas like Utsaha, Vismaya, Shoka, Rati, Shanta and Rasas like Veera, Adbhuta, Karuna, Shringar etc.  Which is helped to Audience to get heightened delight and the mixture of many rasas.

          Thus we can say that all the Bhavas are more important to evoke different rasa. And by taking different stories, novels or movies we can interpreat the whole literature into different rasa and Bhavas.      Thus threw Bharatmuni’s theory of natya sastra we can find out different Bhavas and Rasa into the natya theory and we can also say that without Ntya rasa is not possible and without Rasa Ntaya is not possible because Natya and Rasa theory is interwovwen with eachother.

                   

v Conclusion:

                      Thus we can say that Bharatmuni has described the Ntyasastra to many revialistic Indian critics during the last two hundred years. Bharat is the maker of Rasa theory. One can not deny his facinating insight in the psychology of aesthetic reception was a phenomenal triumph of intellect it is necessary to remind ourselves that the Natyasastra is not devoted solely to the exposition of Rasa theory. Thus we can say that in Hindi cinemas provide everything to the viewers and provide heightened experience through a story based on action, love, romance, separation and reunion supported by songs. So the Natya and Rasa theory gives interpretation to the Drama and teach us different rasa also threw Natya and Rasa Theory.